Turntable Talk #24 – This Woman’s Work

For two solid years Dave Ruch from A Sound Day has been hosting a monthly feature called “Turntable Talk.” Each month he provides a topic to me and other musical bloggers to write about. I have been honored to have participated in every one of them. Each of the participants look forward to not only writing our piece, but anxiously await reading the other contributions.

As I stated in a previous blog, this month is International Women’s Month. Dave offered us an easy topic to write about this month. His instructions state “we’re going to turn our tables and sights to the women of music. Pick one you like and write about her. Whoever you want (that might sound creepier than I intended it), singer, songwriter, band member, the lady on the ‘Breakfast in America’ cover, whoever.”

I wrote a blog that teased this topic earlier in the week. In that post, I said, “I really struggled to pick one (female singer). I even posted on Facebook asking my friends to offer up their three favorite singers. I guess I hoped that they would offer up someone that I hadn’t considered (and they did). The results surprised me. The singers that came up the most were (1) Stevie Nicks, (2) Etta James, and (3 – tie) Pink and Karen Carpenter. Etta was the only one that was in my list of considerations. After looking at the list (and the suggestions) I finally chose who I am writing about and NO ONE mentioned her.“

Along with Etta James, I featured a song from my other considerations: Ella Fitzgerald, Alison Krauss, Aretha Franklin, Billie Holiday, Dusty Springfield, Sarah Vaughn, Diana Krall, Norah Jones, Linda Ronstandt, Pat Benatar, Peggy Lee, Jewel, and Keely Smith in that blog. So how did I finally come up with my choice?

My friend, Dawn, from high school actually helped me make my decision. She said, “There are so many talented vocalists, I’d have a hard time picking. if you’re going to write an impactful piece, I think you have to go with somebody you admire because they knocked down boundaries or overcame obstacles. That’s how I’d pick my vocalist.” That really struck me. Now, I am not saying that the ladies I mentioned already did not knock down boundaries or overcome obstacles – heck, Jewel was living in her van before she made it big!

My featured female singer is a talented woman named Diane Schuur.

I was introduced to Diane Schuur back in the late 80’s. I was talking about music with a gal I was dating at the time. We started talking about jazz singers and she asked if I had ever heard of Schuur. I hadn’t. If memory serves me correct, she loaned me a cassette (or maybe a CD) with some songs on it and I really enjoyed it.

One of her biographies online says this: “Diane Schuur is as eclectic as she is brilliant.” In my opinion, this statement could not be more true. While many of her songs would fall into the jazz category, she could easily be filed in the blues or pop categories, too. While preparing to write this, I picked a playlist on YouTube and it was fun to hear the different sounds of each of the songs.

My friend Dawn said to pick someone who “overcame obstacles.” Diane certainly has done that! She was born prematurely in 1953. She has been blind since birth because of Retinopathy of Prematurity. This disorder affected premature newborns who received high-oxygen therapy during neonatal intensive care. This was a standard practice until 1954.

She learned to play piano by ear. She would listen to Dinah Washington songs and began to pound out the melodies at age 3. Dinah was a big influence to Diane as she began singing her songs as a toddler and worked on her own vocal style. She once stated, “As far back as I can remember, singing was in my blood. My parents loved music, and I loved to sing. I was scatting at an early age.” She scats right up there with Ella and Mel Torme’! She also has perfect pitch!

Blindness was not her only obstacle. When she was a young adult, she began drinking and struggled with alcoholism. She also battled an eating disorder. Those obstacles were so much that she actually contemplated and attempted suicide. Thankfully, her brother-in-law stopped her from jumping out a third-story window. She got help and has been sober for several decades.

Diane got her big break when she was 22 years old. She auditioned for drummer/bandleader Ed Shaughnessy (of the Tonight Show Band) after he finished a concert with Doc Severinsen. Ed said, “this young blind girl comes in and sits down at the Fender Rhodes keyboard and starts singing the blues. Well, my hair stood on end!”

He hired her to be the vocalist in his orchestra. This led many other musicians to hear her. Those included Dizzy Gillespie and the great Stan Getz. Stan was so impressed that he became an advisor and coach to her. She stated that it was Stan who taught her that “less is more.” This was important because she had many critics that said she often “oversang” when she first started out. Stan once said, “She’s just like Sarah (Vaughn) or Ella (Fitzgerald) to me. She’s taking from the tradition, and what comes out is her own conception and advancement of the tradition.”

In 1985, she met B.B. King at a music festival in Tokyo. The two really hit it off and later made an album together entitled “Heart to Heart.” It was released in 1994 and it entered the Billboard Jazz Charts at number one!

In 1988, Frank Sinatra asked her to sing with him at a benefit concert when Liza Minnelli was unable to perform. She was a guest at Sinatra’s home and also performed at a concert with him and Quincy Jones. Frank gave her an abstract oil painting that he had created for her afterwards. When Frank passed away, Schuur recorded a tribute album for her late friends (Frank and Stan).

Other inspirations to Schuur include George Shearing, Stevie Wonder and Ray Charles who are all blind as well. She has said that one of her fondest memories was performing with Ray Charles in 1998 for a PBS concert (some of which is available on YouTube).

Her career has brought her two Grammy awards – both for Best Jazz Vocal Performance (1986 & 1987). She is still recording and touring today. She says, “For the future I plan to continue my reading of American song, paying respect to celebrated writers and polishing the gems in the jazz tradition.”

I’ve never had the chance to see her in person, but there are some fantastic live albums available.

All About Jazz says, “Ms. Schuur surely is among the very best jazz vocalists, and she exemplifies, if not redefines the “diva” category with her warm, often humorous and relaxed interactions with the audience and the musicians. Her mere presence is enough to make for a memorable evening.” I hope to be able to see her perform one day.

I will include just a couple of my favorite cuts at the end of this blog, but before I do, I want to again thank Dave for hosting this monthly feature. I hope that you enjoy reading this as much as I did writing it. I love that with each topic, I am not only enjoying old favorites, but I am introduced to new songs and singers. Perhaps this blog is your introduction to Diane Schuur?

Here is a classic – Come Rain or Come Shine

Another favorite – All Right, OK, You Win!

I just love her take on Moonlight and Shadows

One more – Her swinging version of I Can’t Believe That You’re in Love With Me

Thanks for reading!

Turntable Talk #23 – The Soundtrack of Our Lives

Once again, Dave Ruch from A Sound Day has offered up a gem of a topic for his monthly Turntable Talk feature! This month it is a topic that I have been hoping he’d get around to. Per his instructions:

“This time around, let’s look for THE SOUNDTRACK OF OUR LIVES ! Pick a great movie soundtrack and talk a bit about it. It can be from a great movie or a dog of one (or anything in between), one made specifically for the film or one assembled from existing tunes as long as it’s one that works for you!“

There are certainly many fantastic soundtracks to choose from. Movies that are known for being a great film and also their great soundtracks include American Graffiti, Smokey and the Bandit, The Wedding Singer, The Sting, and Forrest Gump. Those aren’t even considered “musicals!” When I think about musicals, wow, that list is a long one.

Plenty of movie (and TV) soundtracks can be found in my collection. When I worked in radio, I would often buy soundtracks so I could uses some instrumental tracks as voiceover beds (music that plays underneath your voice as you are doing a bit or talking to a listener). I used a variety of cuts from Napoleon Dynamite, Stripes, The Three Amigos, Dragnet, and movies that were box office bombs! My pick comes from a movie that was far from a bomb. It was one of the biggest films of the 1980’s.

The one soundtrack that has always been a favorite for me (and it doesn’t even contain all the songs featured in the film) is The Blues Brothers. It has some fantastic cuts from Belushi and Aykroyd as well as musical legends like Ray Charles, Aretha Franklin, and Cab Calloway.

I had this soundtrack on vinyl and I played the heck out of it. Many of the songs were featured on my “driving mix tapes” when I had my first car! While the album contains 11 great tracks, the film included many other classics that I wound up searching for to add to my collection. The music doesn’t follow their chronological appearance in the film for some reason.

She Caught the Katy

The album opens with this Taj Mahal song. The Blues Brothers version has a lot more sound to it. It is so much fuller with the horns and guitars of the band. It is the song that the starring credits roll under. The opening guitar lick leads to the first big horn stab (and we see Belushi) then you have another horn stab (and we see Aykroyd) and the third big horn stab hits as we see the movie’s title card.

Belushi’s vocal on this is perfect. I like his vocal on this cut more than any other song on the album.

Peter Gunn Theme

This is the first of two TV themes on the album. This instrumental plays as the Blues Brothers are driving back to Elwood’s place. There are some really great shots of the city of Chicago in this scene. As you listen to this one, you can hear the talents of Tom “Bones” Malone, “Blue” Lou Marini, and “Mr. Fabulous” Alan Rubin. If I had a dollar for every time I used this as background music to introduce a wedding party I could fly to Italy!

Gimme Some Lovin’

Best known for being a hit for the Spencer Davis Group (and a young Steve Winwood), the soundtrack features the full song. In the film, the band begins to play this song at Bob’s Country Bunker (a country bar) and the owner shuts the lights off on them. If I had to choose between the two, I’d pick the Spencer Davis version over this one, but it is still a great jam.

Shake a Tail Feather

Originally done by the Five Du-Tones of Chicago in 1963, James and Bobby Purify had a bigger hit with it in 1967. This version tops them because of one man – the great Ray Charles. In the film, he owns a music shop and the band is buying new instruments. Ray is asked about a keyboard and Murphy Dunn tells him that the “action” of the keys is not that great. Ray sits down and says, “I don’t see anything wrong with the action on this piano” and launches into this song.

As Ray plays, a crowd gathers outside the store and dances along with the song doing all the dances mentioned in it (the monkey, the jerk, the boogaloo, etc…). This song is fantastic.

Everybody Needs Somebody To Love

The song was written by Solomon Burke and recorded by him in 1964. Wilson Pickett’s 1966 cover is probably the best known version. This song is featured at the Blues Brothers’ big concert toward the end of the film. Over the intro, Elwood (Aykroyd) speaks to the audience and thanks “the members of Illinois law enforcement” who are present and waiting to arrest them. We get to hear a big more of Aykroyd on this track.

The Old Landmark

When you mention the Blues Brothers to someone, they will often quote “We’re on a mission from God.” This song is performed by the Godfather of Soul, James Brown who plays a preacher. Jake and Elwood are attending this church service and it is a pivotal moment in the film (and what sets them off on their “mission from God.”

The Old Landmark is a gospel song written by Dr. William Herbert Brewster Sr. back in 1949. It has been recorded by the Staple Singers, Aretha Franklin, Dionne Warwick and many others. James Brown takes this to a whole new level. It’s hard to imagine anyone performing this. He performed/recorded this one live on set.

Think

The Queen of Soul, Aretha Franklin, performs this one as she is telling off her husband Matt “Guitar” Murphy. The song was a hit for Aretha in 1968. For the film, they bump up the tempo and add some dancers. This track is SO good! ”Blue” Lou Marini grabs his sax midway through the number and really jams through the end.

This was one of the harder songs to do in the film. Aretha had recorded the song and found it difficult to lip synch to her vocals as they filmed. It was a scene that needed many takes to do. This version is far superior to her original version.

Theme From Rawhide

The second TV theme on the album takes place in that country bar. After the lights go out they band has to figure out something that the audience will like. They wind up performing this one. Aykroyd’s vocal is just awesome here not to mention the “call and answer” between him and Belushi. Add in a whip and you have a real country hit on your hands!

This scene always makes me laugh because they perform on a stage surrounded by chicken wire. Why? Because the crowd gets so excited they throw beer bottles at them!

Minnie The Moocher

This was a song that Cab Calloway had been singing for decades! He was the “Hi-De-Ho Man.” I just love this version of the song. The rumor is that Cab wanted to do the disco version of the song that he had recorded in the past. They insisted that it needed to be the jazz/big band sound.

The song itself send you right back to the 1940’s. The full sound of the band, the horn section, and the amazing trumpet solos by Alan Rubin. Without a visual, it is still fantastic. Watching it in the film only enhances the experience.

They band is on stage waiting for Jake and Elwood to arrive. The crowd is getting antsy. The band is dressed in street clothes and look sort of shabby. Cab asks if they know the song and the band says they do. He yells, “Hit it!” and the curtain opens. Out struts Cab in a white tuxedo backed by the band, wearing black tuxes and looking sharp. The stage now has an backdrop of famous 40’s places with neon signs and a sweet looking band stand.

As a trumpet player, I can’t NOT mention the spectacular trumpet playing of Alan Rubin on this one!

Cab was a scat singer and his call and answer with the audience is just priceless. I’m not sure how old he was here, but his vocals are right on! He was a legend!

Sweet Home Chicago

This is the longest track on the soundtrack. The original version was done by Robert Johnson in 1936. This is the second song the band plays at their big concert (and the one where they make their escape, hence the long instrumental ending). As they intro it, they dedicate it to the late, great Magic Sam (who was from Chicago) who recorded it in 1967.

This is such a fun song to listen to and to watch in the film. The looks that they give John Candy’s character and the other folks who have been chasing them always make me smile. The song serves as the background music as we transition from night to day and the ultimate finale of the movie.

Jailhouse Rock

Movie Spoiler: The entire Blues Brothers Band gets arrested at the end of the movie. Naturally, the final song of the movie is Jailhouse Rock, originally done by Elvis Presley. Trivia: In the film, the first “prisoner” to jump up on the tables and dance is Joe Walsh!

On the soundtrack, the song is a bit different than in the film. You have a complete cut on the album, while in the movie each band member has a little solo as their name appears in the credits. In the film version you also get a line or two sung by James Brown, Cab Calloway, Aretha Franklin, Ray Charles and more. It’s a perfect capstone to wrap the soundtrack.

I have played the songs on this album over and over again on vinyl, cassette, on my iPod, and YouTube. It remains one of my favorite soundtracks of all time! What disappoints me is the many songs that were featured in the film that didn’t make the soundtrack. They are worth finding and checking out!

Of course, I can’t tease those without listing them, so here goes:

Somebody Loan Me a Dime – Fenton Robinson (Plays while Jake is escorted from his prison cell)
Shake Your Moneymaker – Elmore James (Plays while Jake and Elwood visit with Curtis at the orphanage)
Soothe Me/Hold On, I’m Comin’ – Sam and Dave (Plays on the 8 track in the Bluesmobile while Jake and Elwood are driving and get pulled over)
I Can’t Turn You Loose – The Blues Brothers – Originally done by Otis Redding (Plays while they drive through the mall and as they take the stage at the Palace Hotel Ballroom concert)
Let the Good Times Roll – Louis Jordan (Plays on the record player in Elwood’s place)
Anema e core (Until) – Ezio Pinza (The piece is playing the apartment that Tom Malone and Lou Marini used to stay – the “Are you the police?” scene)
Quando, Quando, Quando – Murph and the Magictones (Plays in the Holiday Inn scene)
Just the Way You Are – Muzak version of the Billy Joel song. (Plays in the Holiday Inn scene)
Die Romantiker (The waltz that plays at the Chez Paul restaurant)
Boom Boom – John Lee Hooker (Plays as the Blues Brothers are going to meet Matt “Guitar” Murphy)
Mama Lawdy/Boogie Chillen – John Lee Hooker (Plays when Jake calls Maury Sline and on the way to Bob’s Country Bunker)
Your Cheatin’ Heart – Kitty Wells (Plays as the Blues Brothers enter Bob’s Country Bunker)
Stand By Your Man – The Blues Brothers (Plays at Bob’s Country Bunker)
I’m Walkin’ – Fat’s Domino (Plays as Jake and Elwood and the orphans promote the concert)
Ride of the Valkyries – Richard Wagner (Plays as the Nazis are chasing the Blues Brothers toward the end of the movie)
The Girl from Impanema – Muzak version (Plays, naturally, in an elevator as the Blues Brothers go up the 11th floor with the tax money)

The Blues Brothers may or may not have been the first movie of “mine” that I made my wife watch with me. I’m sure that she made me watch one of her tear jerking chick flicks to get back at me afterward. To me, this movie remains a classic. As far as the sequel – not so much. It did have a decent soundtrack, but that is about it.

I have been wanting to write about this album for a long time and am glad that Dave finally gave me a reason to indulge myself with this blog. I am also excited to see what the rest of the bloggers have chosen for their soundtrack.

I’m already looking forward to next month’s topic! Thanks for reading!

Turntable Talk 21 – Guess Who’s Coming to Dinner

Once again, Dave Ruch from A Sound Day has offered up an interesting topic for this month’s Turntable Talk. I see it as being a way for each of us writers to offer you a bit of ourselves. I mean, any time I write something, it usually has something that gives the reader a glimpse at who I am. In some blogs I read, there are a lot of facts and not much of the author. I’ve come to “know” many of the participants through their past submissions, but this month I feel we’re going to get a bit more personal.

This month, Dave presented us with the following instructions:

It’s almost time for Christmas dinner (even if you aren’t necessarily prone to celebrating Christmas, play along) and there’s one more seat at the table. Because of the magic that is Christmas, you can invite any one musician (or person from the music world) to be your guest. Even if they’ve passed away, they can be at your table for a meal, and a few stories. So, who would you invite? And any little musical gift you hope they might possibly come with?

As with past topics, one possibility jumped out immediately. I decided to think a bit more before I made that final decision. Oh! The list of names that I came up with! It was a long one that included Elvis Presley, Mel Torme’, Nat King Cole, Bobby Darin, Roy Orbison, Doc Severinsen, Louis Prima, Frank Sinatra, Paul McCartney, Tony Bennett, Reba McEntire, Michael Buble’, and so many more! In the end, I stuck with the first name that came to mind – Dean Martin.

To this day, Dean remains my favorite singer. His laid back, carefree, and effortless approach is part of the charm that makes him so likable to me. So many of his songs hold special memories for me.

I imagine him showing up dressed to the nines in his staple tuxedo, knowing he is the guest of honor. However, I also picture him as a humble man who gets along with everyone.

Naturally, on Christmas I’d make the dish that was always served by my grandma – Ravioli. I’d be sure to make the homemade sauce for him. I’d always seen pictures of him and John Wayne eating pasta together. I’d love to hear those stories.

I feel like we could easily talk about the similarities between his folks and my grandparents (both from the old country). I know he was a fairly private guy, but I would enjoy hearing his stories about growing up in that Italian family.

The conversation would naturally turn to music. I’d have so many questions for him. The recording process has always fascinated me. On some of the newer releases they’d include some of the in between take studio chatter. Dean always seemed to be joking around and I bet he’d have some great stories about that.

Not to mention all the stars he personally knew and hung out with. I bet he could have wrote a book full of Sinatra stories! If you look back on the guests who were on his TV show, on the TV roasts, or actors who were in movies with him – it is truly an amazing group. How could he just pick one or two stories to tell when he knew so many people!?

I certainly wouldn’t want to pressure him, but I think it would be very cool to be sitting around the table and for him to give us a few measures of a Christmas song. I remember watching how people often just sang with each other back in the day. Would Dean duet with me on Marshmallow World? Who knows?

As someone who really stinks up the golf course, I’d probably bug Dean for a few golf tips. He was SO good at it, I’m sure just one little piece of advice on my grip, my stance or my swing would help me tremendously!

I’m not sure what musical gift I would hope for him to bring, but I would certainly love to get my hands on one of two things. He once had his own brand of golf balls! I’d never use them, of course, but I would love to have a box!

I would also like to have a bottle of his spirits. At one time he had a few types of his own booze!

I don’t really drink, but I think it would be awesome to have these sitting on a bar.

I suppose I’d only have one more request – a photo with him. That may be pushing the limits, so I might just have to have the camera lying around so that someone could snap some candids of the the two of us together.

I’m sure he’d be the one to want to cut the evening short. “Look, pallie, I’d love to stay and answer all your questions, but I have a 7 o’clock tee time in the morning ….” I’d totally be ok with that.

Thanks to Dave for a great topic! I cannot wait to read the guests that our other writers come up with!

How about you? Who would you picki?

Wishing you and yours a VERY Merry Christmas and a blessed 2024!

Turntable Talk #18 – The Man (or Woman) Behind the Curtain

It is time once again for another edition of Turntable Talk. This is a feature created by my friend Dave Ruch from the A Sound Day Blog. This is my 18th submission for this feature and it is something I look forward to writing each month.

This time around, Dave took us to the Land of Oz for inspiration. His instructions:

“Pay No Attention to That Man (Or Woman) Behind The Curtain” . Yep the famous phrase about the Wizard of Oz.

We’ve looked at a number of great artists – singers, groups, musicians – and their records. This time we’re switching it up just a little and are going to salute someone “behind the scenes” that was significant to music. All too often people do pay no attention to the people behind the curtain in music that are so important to the albums and groups we love. There are record producers, the record company bosses and talent scouts, the people on radio who used to make the hits happen, even unsung heroes like concert roadies. Pick one you feel is important and maybe a little un-noticed and tell us why!

As a former radio guy, I immediately thought I should write about a well known DJ. There are many of them who played a big part in the music industry. Dick Clark, Casey Kasem, Wolfman Jack and Alan Freed come to mind. However, I decided that I would feature a man who played on some of the biggest hits on the radio, yet until recently was relatively unknown.

40 years ago, James Jamerson passed away at the young age of 47. At the time he passed away, no one really knew who he was, despite being one of the best (if not THE best) bass player of all time! As a matter of fact, he often tops the list of Best Bass Players of all time by numerous publications. It has been said that he single-handedly revolutionized bass playing. I agree. His creative contributions to music certainly makes him a good pick for a “man behind the curtain.”

James Jamerson was born on January 29, 1936 in Charleston, SC. When his parents divorced, his mother moved to Detroit to find work. He would spend time with his aunt, grandmother and cousin. His aunt sung at church while his grandmother and cousin played piano. He spent time listening to gospel, Jazz, and blues music and that influenced his own musical abilities.

In 1954, his mother sent for him and he attended Northwestern High School. In the music room of the high school, he saw a stand up bass lying on the floor. He picked it up and began to play with it. He had “found” his instrument. He began to play at many of the Detroit area blues and jazz clubs.

He began to get noticed and he began playing for dances, weddings, frat parties, and other events. He was quite a local celebrity. It was hard to miss him driving through town with his bass sticking out the window of his car! Because he was still a minor, the good folks at the Detroit Police Dept. gave him a permit so that he could play in clubs that served alcohol. This allowed him to get more work.

Believe it or not, Wayne State University offered him a full ride music scholarship which he turned down! He was playing so often, he figured he was already in the music field, so why would he need to go to college? Instead, after he graduated high school, he joined up with Washboard Willie and the Super Suds of Rhythm (How’s that for a group name?!). It was during this time that he began to drink alcohol (which would eventually lead to his death).

In 1958, someone from the Northern Records label heard him play and asked him to sit in on the session recordings for the label. The unique way he played caught the ear of other labels. He began to work for Fortune, Tri-Phi, Anna Records, and eventually Motown.

He and the Funk Brothers (pianist Earl Van Dyke, drummer Benny Benjamin, and guitarists Robert White and Joe Messina) spent the days recording in the “Snake Pit” (the Basement of Motown Records) and playing at Jazz clubs in the evenings. Jamerson had switched from an upright bass to a brand new creation – the electric Fender Precision Bass.

The switch really made his work stand out. On some songs, he’d play the stand up bass and then double it with the electric. What made his work on the electric so awesome is that he played the electric just like he played the stand up bass – with one finger (which many folks called “the claw”).

While he is known for playing on many of the Motown songs, he also played on Boom Boom by John Lee Hooker, Whispers Getting Louder and Higher and Higher by Jackie Wilson, Agent Double-O-Soul by Edwin Starr, Cool Jerk by the Capitols, Show and Tell by Al Wilson, Boogie Fever by the Sylvers, and so many other hits! What made the Motown stuff so good was he had some free reign to be “James Jamerson.”

Musician magazine interviewed him in 1983 and he stated that the Motown songwriting and productions teams “would give me the chord sheet, but they couldn’t write for me. When they did, it didn’t sound right. When they gave me that chord sheet, I’d look at it, but then start doing what I thought would fit. I’d hear the melody line from the lyrics and build the bass line around that.”

One of the coolest examples of how he listened and did his thing was on two separate recordings of the same song. To help illustrate this, I found some isolated bass lines on YouTube that are fascinating! Jamerson played on Marvin Gaye’s I Heard It Through the Grapevine – a Motown classic! Check out the soulful line here:

Now check out the same song – and a funkier bass line – on the Gladys Knight Version:

I find it amazing that the same man can take the same song and make them so different.

Speaking of Marvin Gaye, the Funk Brothers shared a story about how Marvin wanted Jamerson to play on What’s Going On. James was out drinking and Marvin went out looking for him. When he found him, he brought him back to the studio. Jamerson was so drunk that he couldn’t even stand up! It was no problem for him, though, he just laid on his back on the floor and played on the track!

Trivia Bit: What’s Going On is the first track that Jamerson is credited on a recording.

It is said that James Jamerson played on almost every Motown song between 1963 and 1968. That would include over 60 songs that hit #15 or better on the charts. He also performed on 23 # 1 songs on the pop charts and 56 #1 songs on the R&B charts! Berry Gordy called him an “incredible improvisor” and said “I, like the other producers, would not do a session unless at least two of the Funk Brothers were present, namely Benny Benjamin and James Jamerson.”

Some of the other Motown songs that feature Jamerson:

Ain’t No Mountain High Enough – Diana Ross and the Supremes
Ain’t That Peculiar – Marvin Gaye
Ain’t to Proud to Beg – The Temptations
Baby, I Need Your Loving – The Four Tops
Baby Love – The Supremes
Bernadette _ The Four Tops
Can I Get a Witness – Marvin Gaye
Dancing in the Streets – Martha and the Vandellas
Don’t Mess With Bill – The Marvelettes
Going to a Go Go – Smokey Robinson and the Miracles
Home Cooking – Jr. Walker and the All Stars
It Takes Two – Marvin Gaye and Tammy Terrell
My Cherie Amour – Stevie Wonder
My Girl – The Temptations
Pride and Joy – Marvin Gaye
Reach Out, I’ll Be There – The Four Tops
Shotgun – Jr. Walker and the All Stars
This Old Heart of Mine – The Isley Brothers
Two Lovers – Mary Wells
What Becomes of the Broken Hearted – Jimmy Ruffin

You can also hear him on :

The Theme from S.W.A.T. – Rhythm Heritage
The Theme from Starsky and Hutch
Just Like Romeo and Juliet – The Reflections
Rock the Boat – Hues Corporation

The list of people who were influenced by Jamerson’s playing is almost as long as the list of songs he played on! Saxophone and bass player Wilton Felder called him “The Godfather of the electric bass.”

Suzi Quatro says, “I grew up in Detroit, so I was weaned on James Jamerson and Motown music. It’s in my DNA. He is still the best and I took my style from him. It’s hard to improve on what he did, because you are talking perfection.”

Sir Paul McCartney says, “Jamerson was where I picked up a lot of my bass style. Because bass players normally have to follow: we follow chords, follow the drummer, follow the vocalist, we have a following role. Suddenly the bass had power! We could dictate the direction of the music and add excitement. James Jamerson became just my hero, really.”

James Jamerson Jr. says, “As for his sense of syncopation, that was his God-given gift. I couldn’t even explain that one. I put it like this: My dad liked to dance, so he just danced on the bass. He would occasionally polish his bass, but he’d never touch the gunk that built up on that fingerboard. he told me the ‘dirt keeps the funk’.”

Years of drinking finally caught up with Jamerson. On August 2, 1983, he died of complications from cirrhosis of the liver, heart failure and pneumonia.

He was buried in Detroit’s Woodlawn Cemetery. A few years ago, Jamerson’s cousin saw a picture of his grave site. There was no headstone, only a grass marker. Eventually, the funds were raised and a proper headstone was set in place on August 27, 2021.

In 1989, Jamerson was the subject of a book loaded with great stuff – Standing in the Shadows of Motown. I think you can still get this on Amazon. A documentary of the same name was produced in 2002

He was posthumously inducted into the Rock and Roll Hall of Fame in 2000, received a Grammy Lifetime Achievement Award in 2004, and inducted into the Musicians Hall of Fame in 2007. Last month, in South Carolina, he was honored when a street was named for him.

It is a shame that it took so long for Jamerson and the Funk Brothers to get the recognition that they deserve.

As I prepared for this piece I found myself on YouTube listening to track after track of Motown stuff and listening with different ears. I focused on that bass line and really was blown away. These are songs I have heard countless times, yet focusing on that bass made them so fresh! As I said, the isolated tracks are an entirely different thing – it is so awesome to hear Jamerson “feel” and “drive” the tunes. It is no wonder that he is ranked the #1 bass player in the business by so many different sources, including Rolling Stone magazine.

Thanks again to Dave for allowing me to be a part of such a cool feature. I have already been impressed by the other blogger’s submissions. I am sure that they love taking part in this feature as much as I do.

Thanks for reading! Stay funky!

Turntable Talk #16 – Coulda Been A Contender

It is time once again for my contribution to Turntable Talk, a series hosted by my friend Dave Ruch at his blog “A Sound Day.” This is the 16th installment and the topic this time around was an easy one for me. The topic this month is entitled “Coulda Been a Contender.” This is simply a song that we felt should have been a hit but wasn’t.

As a music director (the guy who helped the radio station’s program director choose what songs to play) I heard a lot of songs that wanted a spot on our play list. Many times we added songs that never went anywhere on the charts, but we thought they were good. On the other side of the coin, we played a lot of songs that I felt were crap, that wound up being hits.

When this topic presented itself, one song immediately came to mind. Unlike other topics where I went back and forth between 2-5 songs trying to pick one to write about, this one was the only one I felt really should have been a smash. I have felt that way about this song since hearing it the first time. It is a duet by a legendary artist you will know instantly, and a singer whose name you SHOULD know, because she is just that good!

The song is “Where We Both Say Goodbye” by Catherine Britt and Sir Elton John.

From her website at http://www.catherinebritt.com :

She has lived a life in the world of entertainment most will never experience or dream of. The archetypal Aussie girl from the coal works of Newcastle uprooted herself at 17 years old and moved for six years to Nashville TN (USA) where she gained a deep knowledge of country/roots/folk history as well as touring extensively and releasing top 40 Billboard hits.

How did this happen you may well ask. Not every 17 year old moves from Newcastle to Nashville to pursue their musical dreams. Well, the story is that a certain Elton John (yes, THAT Elton John – not to be mistaken for . . .) heard Catherine during one of his Australian tours in the early 2000s. So impressed with Catherine was Elton that he took her albums back to America with him and helped get a deal with RCA Records.

I can only imagine the feeling she had when she heard that Elton John was a fan AND was helping her get a record deal! There is a very cool video of Elton and Catherine that I will share after I talk about the song.

Music, like humor, is subjective. It has a certain power to it. Perhaps my feelings about the song are a bit swayed because of what was going on in my life in 2005. My mother was dying of breast cancer, my son was going through intense therapy for autism, and my marriage was slowly falling apart.

I connected with the song on a personal level, but I also understood that I wasn’t the only person who was having relationship trouble. This song struck a chord with me and I knew that there were listeners who had to be going through the exact same thing. As years went by, this song took on more and more meaning for me. As my first marriage continued to crumble and my unhappiness grew, I heard this song again on my iPod, and knew it was certainly time to “say goodbye.”

I still cannot understand how this song was NOT a hit. Perhaps it was programmers questioning whether or not to play Elton John on a country station? It could have been some consultant who felt that way, too. But today, we see artists crossing over from genre to genre and no one thinks twice about it. Maybe this song was ahead of its time.

Catherine’s voice is simply beautiful. It is almost sultry. Elton could sing just about anything and it would sound great. These two together? Magical! Their voices blend so well. Their harmonies are stellar and they convey the hurt of the lyrics. Here are two people who are dying inside because they both know – it is probably over.

Let the steel guitar pull at those heart strings …..

Where We Both Say Goodbye

A fire that’s left unattended
Surely will burn out and die
Now that we’re down to nothin’ but ashes
Is this where we both say goodbye

Chorus

Is this where two hearts break down and cry
Is this where we let go and give up the fight
Have we reached the point where it’s too late to try
Is this where we both say goodbye

It’s so hard to go on pretendin’
The truth is we’re livin’ a lie
And it kills me to know our love’s dyin’
Is this where we both say goodbye

(Chorus)

I wanted you to hear the song before you watched the next video. This is a very cool piece with Elton and Catherine talking about how they came to meet and eventually record the song. I love watching behind the scenes stuff like this.

https://youtu.be/85pORTOgkkk

The song itself only reached #38 on the Country Singles Chart. Shame on country radio !!

In 2008, RCA dropped her from the label and she returned home to Australia, where she has had great success and continues to tour.

Her website states:

Over the course of her career Catherine has collected a host of accolades, a legion of fans and a mantel of awards including the country industry’s highest honours, 2009 CMAA Female Artist of the Year Award, 2012 CMAA Single of the Year, 2013 CMAA Female Artist of the Year Award, 2016 Female Artist of the Year, 2017 Vocal Collaboration of The Year for her celebrated single “F U Cancer” as well as APRA Award and CMC Artist of the Year nominations. 6 of Catherine’s albums released to date have been nominated for the ARIA Award for the Best Country Album release, which is a first for any Australian country artist. In 2010, Catherine was also presented with the CMA Global Artist of the Year award.

I tend to feel like Elton John in that I have always thought that she was the “real deal!”

Catherine got a raw deal here in the states. Personally, I believe she could have been as big as Martina McBride or Faith Hill. All too often, station programmers will opt to play crap from an established artists instead of playing a truly great song from a newcomer. Stupid radio/records politics!

She has done quite well for herself in Australia. Her fans love her and support her and she has taken control of her career. Her website says that her latest album, Home Truths, is “Catherine’s first release in over 20 years as a completely independent Australian artist. It’s a decision based on Catherine wanting complete control of her career – and having ownership of her own recording masters and copyrights. That’s something that – now as a parent of two young children – she believes is important – and something to pass on to them.“

“Where We Both Say Goodbye” should have been the song that made America country fans take notice of Catherine Britt. It is a song that proves that she is not only an amazing songwriter, but an amazing singer as well. Her music is deep, heartfelt, and honest. I’m glad that she is enjoying the success she deserves, even if it isn’t here in the US.

My hope is that I have chosen a song that is completely unfamiliar to you. If it makes you want to hear more from Catherine, fantastic. If not, that’s ok too. Music is subjective, right?

Thanks again to Dave for allowing me to take part in this monthly feature. I look forward to reading the rest of the gang’s picks and next month’s topic. Thanks for reading..

Turntable Talk #15 – My Home Town

It is time once again for one of my favorite blog posts – Turntable Talk, hosted by Dave at A Sound Day. If you are unfamiliar with this feature, Dave assigns the participants with a specific musical topic each month. This is the 15th installment. This month the topic is: My Hometown

Dave’s instructions for us this time read: “I’m leaving this one rather open-ended for your interpretation, but essentially if you’re in, write about either a song about your hometown, or highlight an artist from your hometown. Likewise, I leave it to you to define what your hometown is – it can be your literal one, or one you live in now or somewhere close by that you associate with.”

As many followers know, I live in Michigan. I was raised in the city of Warren, which is about 20 miles from Detroit (less than 20 miles in some places). When the topic was presented, my first thought was to pic the song Detroit City (which was done by numerous artists). I really don’t consider that song a favorite, so I started thinking about Motown Songs. There were SO many good ones to chose from, but I decided against that, too.

I then did a search of artists from Michigan hoping that one would jump out at me. One did. I wrote briefly about him in the past, but feel he is worth writing about for this topic. I will mention some of his biggest hits, which you will be familiar with, and maybe even include some YouTube links. There is one song that wasn’t a huge hit for him, but it is my favorite vocal by him. I hope you are ready for some excitement – Mr. Excitement, Jackie Wilson!

Jackie Wilson has ties to many other artists and groups, all prior to having a successful solo career. He was considered a master showman and one of the most dynamic singers and performers in soul, R&B, and rock and roll history. His story is really an amazing one to follow, although it does have a sad ending.

The iconic, soulful and energetic stage entertainer was born in Detroit on June 9th, 1934, and raised in the rough neighborhoods of Highland Park, Michigan (13 miles outside of Detroit). He actually began singing as a young boy, accompanying his mother, an experienced church choir singer. In his early teens he joined a quartet, the Ever Ready Gospel Singers, who gained popularity in local churches. Wilson was not very religious, but he enjoyed singing in public. The money the quartet earned from performing was often spent on alcohol, and Wilson began drinking at an early age.

Life was rough for him growing up. At age 15, he dropped out of school. He joined an area gang, which led to Jackie getting in trouble. He got locked up twice in juvenile homes where he eventually learned to box. He entered the amateur circuits around the Detroit area where he met fellow boxer and future Motown chief, Berry Gordy. Jackie would become a Golden Gloves boxer, but after his mother told him ‘that’s enough boxing’, and with a record of 2-8, he turned to music.

Forming the original Falcons, he would be discovered by Johnny Otis, who placed him in a group called the Thrillers. The Thrillers later became the Royals, the same group that backed another Detroit legend, Hank Ballard, but Jackie left before they made their big hits. Joining Billy Ward & the Dominoes in 1953, replacing Clyde McPhatter. He stayed with the group for 3 years, and cut their last real hit “St. Terese of the Roses.” It was after this (in 1957) that he decided going solo would be a better option. He was absolutely right and it paid off for him in a big way.

Signing with Brunswick Records, Jackie would have his first hit “Reet Petite” in 1957, co-written by Berry Gordy, who would become good friends with Wilson over the years, and co-writing a few of his early hits.

Jackie followed this with “To Be Loved,” “That’s Why (I Love You So),” and “I’ll Be Satisfied.” But it was “Lonely Teardrops” that would launch him to a whole new level!

Charting 54 hits from 1957-1974, his stage presence earned him the nickname “Mr. Excitement”! Audiences went wild for his stage show! Go to YouTube and watch some of his live performances! He was amazing. He sang while doing knee-drops, spins, the splits, back flips, one-footed across-the-floor slides, removing his tie and jacket and throwing them off the stage, basic boxing steps like advance and retreat shuffling. Jackie would sing anything from high-powered soul classics, to opera, to ballads – there wasn’t anything Jackie couldn’t sing.

One of those amazing ballads was a song called, “Doggin’ Around” from 1960. The vocal on this song blows me away every time I hear it! You can hear the pain in his voice as he pleads to this woman to stop playing games with him. There is that lone piano plinking along in the back ground and the back ground singers are just enough to enhance the “pain” Jackie is trying to convey. The song itself only went to #15, but I have always felt it should have gone MUCH higher.

Doggin’ Around – Lyrics

You better stop, yeah, doggin’ me around
If don’t you stop, yeah, I’m gonna put you down

Cause, I can’t take it
Much longer
My heart’s getting weak,
It’s not getting any stronger
You keep me so upset,
My head’s in a whirl,
But if you wanna be my girl

You better stop, yeah, doggin’ me around
Cause if you don’t stop, I’m gonna put you down

Now you know you go out nights,
To have yourself a ball
Sometimes you don’t, you don’t make it home at all
I don’t mind you having yourself a real good time,
But now what are you tryna do, tryna make me lose my mind

You better stop, yeah, doggin’ me around
If you don’t stop, I’m gonna put you down
Yes, put you down
I don’t want to do it, but I’ll have to put you down
I love you baby, but still, I’ll put you down…

Elvis Presley’s hairstylist, Larry Geller, once visited Jackie backstage with Elvis after one of his Las Vegas performances. He said that Jackie had a habit of taking a handful of salt tablets and drinking large amounts of water before each performance, to create profuse sweating. Wilson told Elvis, “The chicks love it.” This may not have been the healthiest thing to do, and may have contributed to his tragic end.

On September 29, 1975, Jackie was one of the main acts to be featured in Dick Clark’s Good Ol’ Rock and Roll Revue at the Latin Casino in Cherry Hill, New Jersey. While singing “Lonely Teardrops,” as he sang the words “My heart is crying” he collapsed on stage; audience members applauded as they initially thought it was part of the act. He had suffered a heart attack onstage. Dick Clark sensed something was wrong, then ordered the musicians to stop the music.

Due to the lack of oxygen, he fell into a coma, of which he never recovered. He was moved to a retirement community in Mt. Holly, New Jersey, where he needed constant care. Elvis Presley paid for a lot of his medical expenses. On January 21, 1984, Jackie Wilson died at the young age of 49.

So many great singers hail from Michigan, and the Detroit area. Jackie Wilson was an amazing talent who, despite a short career, left us so many great songs! He posthumously received his star on the Hollywood Walk of Fame on September 4, 2019. He is buried at Westlawn Cemetery in Wayne, Michigan. His tombstone reads “No more lonely teardrops.” A bench in front of his grave says, “Jackie – The Complete Entertainer.”

Thanks again to Dave for allowing me to take part in this feature! I truly look forward to writing for it and reading the other participant’s entries. I am already waiting patiently for next month’s topic.

Bonus Book Recommendation

Yesterday I posted a quick review and recommendation for the latest James Patterson book I read. After I did that, I was reminded of another book I wanted to recommend to you. It is a book that can be read over and over and comes from a guy I write about often.

Every month, I talk about Dave from the blog A Sound Day. In the time we have been following each other and e-mailing each other, I discovered that he not only has a fantastic musical blog, he is also a published author!

Around Thanksgiving I had posted a blog about things that I am thankful for. Dave said that he had written a book that was about the same thing. He sent me an autographed copy of it and it is really fantastic.

As I read this book (which I did in one sitting), I found that Dave and I have a lot more in common than just music. The story behind the book is that Dave began writing a list. Every day he would write down something he was thankful for. He went through his list and pulled out 101 of his favorite things.

On the scribd.com website, a description of the book reads:

“Thank Goodness – 101 Things To Be Grateful For Today” offers readers a chance to reflect on all the good in life and challenges them to not only look for good in their own lives but offers ways to do so. A collection of wonders the author is thankful for is accompanied by questions for the reader to ponder , such as how they last showed compassion for somebody else and how that made them feel , or what the most meaningful holiday on the calendar is to them. Selected sketches and cartoons illustrate some of the points. The book can be read even in a single sitting, or as a daily ritual designed to make each day brighter.

I love that there is a question posed after each thing. You and I know that those questions can be answered differently at any given time, which really makes this a book that can be read over and over again.

A few of my favorites from the book:

Living in the golden age of communication
My love of music
Coffee to greet the new day
Sleep, too often taken for granted
My ability to not only read, but enjoy doing so
Funny commercials making a minor inconvenience fun
Prayer
Anytime I can brighten someone’s day
Being in love with my best friend

After each thing, Dave offers up a personal story that connects him to it. This is where I realized just how similar we are. When talking about music for example, he mentions a plastic turntable, 8 track tapes, and buying vinyl albums. Each one of those things were things I connect to my love of music, too.

Here’s the thing – you can always find something to be grateful for each day (even on the bad days!). These 101 things in Dave’s book are great reminders and thought starters. It is a perfect book for the start of the New Year, but really is good for any time of the year.

You can find it on Scribd here:

https://www.scribd.com/book/326034791/Thank-Goodness-101-Things-To-Be-Grateful-For-Today

or from Barnes and Noble here:

https://www.barnesandnoble.com/w/thank-goodness-101-things-to-be-grateful-for-today-dave-ruch/1124723016

I’m grateful to have connected with Dave through the world of blogging (The Blogiverse? Blogmosphere?) and his book reminding me to always be aware of those things to be grateful for!

Speaking of Dave …

His next round of Turntable Talk will begin on January 10th! I was drawn randomly to be the first one to kick off the topic. Watch for it here and on his website, especially if you like “poetry.”